1999: I was 11 years old, and the Dixie Chicks‘ opening act was Ricky Skaggs. I already owned his album ‘Soldier of the Cross’, but apparently the rest of my generation didn’t know him so well. The Chicks came out on stage while everyone was bustling about for t-shirts and snacks, and commanded our attention. As they introduced their own opening act performers, Natalie explained:
We asked Ricky to share the stage with us for this tour because the music industry has for so long stripped us of our historic roots in the name of profit. We are Bluegrass artists who happen to have a hit-selling Country album. To appreciate our music, you have to understand where we come from. We want our younger generation of fans to learn where you come from, too, and what role this music and its history have played in shaping who you are and the media you’re buying.
They gave us ten minutes to find our seats and asked us to give Ricky Skaggs and Kentucky Thunder the same courteous attention we intended to give The Chicks.
The following year, their careers were effectively destroyed over speaking out against George Bush, and they sealed that coffin further by denouncing the Iraq war.
Tonight though, they took the stage with Queen Bey in perhaps the boldest statement of their careers: Redneck Solidarity with Black Feminist empowerment.
Daddy Lessons couldn’t have been more perfect an anthem for that solidarity. It is the story of every poor Southern girl clawing her way toward Liberation from within the gun-totin’ Patriarchy. Ain’t make no difference her skin color — though let’s not get twisted thinkin’ everyone’s experience is the same across race. May be all women need empowerment. May also be white women and trans folks have more opportunities to share liberation with women and trans folks of color. May be that’s what Redneck solidarity really means.
Praise the Lord and pass the ammunition,
At a point in our country’s history, before the Plantation Owners frightened us into hating one another’s voices of freedom and silencing one another’s songs of liberation, we sang them together.
When I read that white country music fans were rebuking the CMA awards show because it was “Diluting its country brand by allowing a pop star to take the stage…”, my first thought was “WHERE WERE THESE PEOPLE WHEN I WAS CRYING ABOUT KIDD ROCK STEALING AIRTIME ON MY COUNTRY MUSIC CHANNEL???”
For real though, where where they? What was their complaint about Beyonce rooted in, if they were content to let Kidd Rock take over not only their stage for one night but also their Country music radio stations without complaint? What is the difference between Kidd Rock and Beyonce? We’re Southern, not stupid. Let’s stop pretending we don’t see this.
Upon learning Beyonce’s performance allegedly diluted “the value” of Country music, then I understood:
The Evangelical whiners are not upset about compromising the integrity of Country music. They are upset about compromising the country music brand. Their White Supremacy exists to reinforce Capitalism. White Supremacy and the Country music industry are so engrained, people have forgotten where the insidious business ends and our Southern heritage and roots begin.
Real Country came from making the best we could with both poor immigrants from Europe and their trafficked, enslaved neighbors from Africa singing together by the fire on Sunday evenings. Real Country is not about making money for multi-millionaires, especially by throwing a brilliant Black woman under the CMA bus. Real Country music “ain’t gonna work on Maggie’s Farm no more” and never gives up on the power of love to shoot straight from the hip without missing, especially to when aimed take down the Patriarchy. Real Country music honors women.
Real Country music is the Dixie Chicks and Beyoncé singin’ about their daddies teachin’ ’em to shoot in self-defense.